Arri Adds 2 Arrilite Fixtures Arri has updated and expanded its Arrilite range with the introduction of the Arrilite 750 Plus and Arrilite 2000 Plus.

Baxter Controls Puts DMX in Pocket Baxter Controls, Inc. has introduced the Wi-Fi Pocket DMX, a live control application for DMX-512-controlled systems for use with an Apple iPhone, iPod Touch or iPad.

Denz Lightweight Handle Supports DSLRs The Denz Company has introduced the Ultra Lightweight Handle Support System, which can be used with any camera system and has proven especially popular with DSLRs.

Ikan Elements Line Continues to Grow Ikan has expanded its line of Elements Fly Kit configurations with the introduction of the Shoulder Mount Deluxe, Stereoscope Deluxe and Shoulder Stock.

MAT-Towercam Gets Twin Peek Berlin, Germany-based Mad About Technology has added the MAT-Towercam Twin Peek to its line of Towercam telescopic camera columns.

Egripment Introduces ProTraveler Egripment Support Systems has entered the prosumer market with the introduction of the compact and lightweight ProTraveler System, a jib/crane system designed for use with cameras with a maximum weight of 22 pounds.

At first, it looks like just another time-lapse shot that incorporates motion control. As the camera slowly pans across the landscape, clouds race across the top of the screen and shadows chase across the ground. But then something unusual happens: as the camera continues its fluid pan, the clouds and shadows suddenly reverse direction and resume their original course — without interrupting the camera’s movement.

This in-camera visual effect was co-created by cinematographer Pablo Gutierrez, the design engineer at MotionPeak, and Brian Bennett, a cinematographer, producer and partner at Dynasty Films. When Dynasty Films decided to add a motion-control element to its time-lapse photography (which has appeared regularly in AMC’s series Breaking Bad), Bennett’s search for a viable, portable, lightweight solution led him to Gutierrez, who had been refining motion-control techniques since 2004.

Bennett recalls that when they first met, Gutierrez’s primary motion-control rig was designed for film cameras. “We started to work together to make it more compact for use with a Canon [EOS] 5D DSLR, which is what we use to shoot our time lapses,” says Bennett. Gutierrez motorized The Slider Co.’s Slider lightweight rail system, using a proprietary, Mac-based interface that controls movement along the length of the Slider, as well as camera panning and tilting. Gutierrez’s system is expandable, allowing more variables to be added to time-lapse and other in-camera effects. For example, notes Bennett, “You can add a riser, and you can rack your focus as the camera moves.”

As with traditional motion-control time-lapse work, Gutierrez’s system is based on defining the spatial path the camera will follow and the timeframe in which the move will be executed. Where his system differs from others, though, is in its graphical user interface, which “allows us to explore new directions,” he says. With a traditional motion-control shot, the camera begins at Point A at a certain point in time and ends at Point B a certain duration of time later. Thanks to MotionPeak’s proprietary interface, the temporal points between spatial points A and B can be manipulated ad infinitum, allowing shots like the one in which clouds and shadows reverse direction even as the camera continues along its course. “The GUI allows the user to create a smooth path for the axes that will move, and then to draw the relationship between keyframes and the instant of their exposure,” Gutierrez explains. The software then “creates a hierarchical list of instants of exposure and gives the user an indication of the travel stress created by the particular move and timeframe. “The result is that the pictures will be taken in a sequence that requires the camera to go back and forth [along the rig] to capture the different parts of the move,” Gutierrez continues. “There is a mechanical limitation to doing this without adding too much travel time to the desired exposure intervals, so the range of motion and the timing of the photographed phenomena impose certain conditions on the shot.” When Bennett first saw the nonlinear element in play, he “instantly fell in love with it,” he says. “It was new and different, and I appreciate when effects are done in-camera and not in post.” Gutierrez continues to refine the technique with Bennett’s input. “Pablo does all the genius work, I test it, and then we assess what worked and what didn’t,” says Bennett. “For instance, I recently shot a job in Texas with the motion-control rig and needed a gas generator, but Pablo has since developed [an option for] 10-hour battery power.”

Admittedly, Bennett notes, “This is a very specific visual effect, and we’re discovering applications for it daily. For example, you could sync the changing time-lapse element to a record scratch in a music video. The hope is that people will look at this and be inspired.”

To see footage of the nonlinear motion-control time-lapse effect, visit dynastyfilms.com and motionpeak.com.

Rosco has extended its LitePad family of LED fixtures with the introduction of the LitePad Axiom. The Axiom features an inset, detachable electrical connection designed to prevent cord damage; 33-percent increased light output; a rugged and versatile metal housing that provides a secure mounting plate and a slot where accessories can attach; and medium and spot lens options. Additionally, the Axiom is available in both daylight and tungsten color temperatures.

Mike Wagner, the product manager for Rosco’s LitePad line, notes, “Our engineering team listened carefully to the suggestions and critiques from users of our original LitePad, and the Axiom range addresses each one. These new luminaires are perfect for use in studios or on set.”

Each LitePad Axiom Kit includes a range of fixtures (available in sizes from 3"x6" up to 24"x24"), cables, accessories and mounting points, all neatly housed in a rolling hard case.

Gekko Technology has added the 6006-DD to its Karesslite range of LED-based lighting equipment. Designed for studio and location use, the soft light has twice the number of emitters and twice the brightness of the original Karesslite 6006. Available in daylight (5,600°K) and tungsten (3,200°K) versions, it incorporates a 6x12 emitter format in a 300x300mm panel with a front-to-back depth of 165mm and a weight of 4.8 kg, including the diffuser.

“The 6006-DD is as compact and portable as the 6006, yet delivers the same 2,600 lux at 1 meter brightness as the 600-by-300mm Karess 6012,” says David Amphlett, Gekko Technology’s managing director. “It can be used as a single, soft light source, or deployed with additional Karesslites to form a large, multiple-light source. Unlike traditional lighting products, color temperature remains consistent throughout the full range of intensity variation. The light output is smooth and can be used either as a primary source or as fill.”

Power can be derived from a single V-lock battery, a 12- to 40-volt DC feed via an XLR 4 connector, or from a mains supply. Being LED-based, the Karesslite 6006-DD is extremely energy efficient and emits very little heat. Power consumption is 85 watts, allowing more than 90 minutes of continuous operation from a single rear-mountable V-lock battery.

Onboard dimming as well as integrated DMX are incorporated into the fixture, and an integral diffusion grating makes the output single-source with minimal light loss. Two egg-crate options can also be used to make the source more directional. Available accessories include a swivel mount, yoke, encapsulated color-correction gel sets, removable barn doors, honeycomb louvers, remote dimmer and soft transit case.

Arri has updated and expanded its Arrilite range with the introduction of the Arrilite 750 Plus and Arrilite 2000 Plus. The compact, lightweight, rugged and durable fixtures have been completely redesigned and offer a modern take on a well-established lighting concept perfectly suited to demanding production environments.

Both fixtures feature a robust aluminum housing that allows for effective heat dissipation. At the rear of the housing is a large, heatproof handle that facilitates easy maneuvering of the light even when it’s hot. Both fixtures offer high light efficiency thanks to the same reflector and optical system as is used in the Arrimax, and bulbs can be changed quickly and easily, without the need for any tools.

The Arrilite 750 Plus is smaller and lighter than the Arrilite 800 and Arrilite 1000 fixtures, making it well suited to portable lighting kits used for location shooting. Although listed as a 750-watt fixture, it can be fitted with bulbs ranging from 800 watts down to a 375-watt HPL bulb. The unit features an innovative one-arm stirrup that enables many different pan-and-tilt options and reduces the overall size for easy transportation. An accessory holder incorporates fittings that permit the Chimera Video Pro Plus S to be fitted directly, without an additional speed ring. The accessory holder also enables the use of the four-leaf barn door and scrims designed for the Arri 650 Plus.

The Arrilite 2000 Plus is more stable and far more compact than its predecessor, the Arrilite 2000. It features an improved focus mechanism and, like the 750 Plus, implements disc-brake technology from the Arri True Blue range of lamp heads, holding the fixture steady even with heavy accessories attached.

Baxter Controls, Inc. has introduced the Wi-Fi Pocket DMX, a live control application for DMX-512-controlled systems for use with an Apple iPhone, iPod Touch or iPad. The easy-to-use control console places a remote, patchable DMX control system in the palm of the hand when connected via a standard wireless router to the requisite BCI Pocket Console DMX NetPort, which enables the merging — via the highest-takes-precedence (HTP) protocol — of existing console/dimmer-board data with simultaneous input from the Apple device and also offers a DMX pass-through port.

The Wi-Fi Pocket DMX offers 36 patchable channels of level control. Each DMX address can be patched to any channel; all 512 DMX addresses are fully patchable, and any channel can control from 0 to 512 addresses. There is also an individual dimmer and channel-check function with the output level selectable by the user.

Matthews Studio Equipment has introduced a series of opaque overheads designed for use in rain or high-humidity conditions. The Water Solids are a great protection when the elements threaten to slow down or stop a production.

Manufactured from high density, opaque polyester fabric with a PVC backing, Water Solids operate in all wet conditions without absorbing water or adding additional weight to overheads, and because they don’t absorb water, they are dry almost instantly and can be folded and packed immediately after wrap. Water Solids are available in all standard overhead sizes and can be custom-sized for particular applications.

Optefex Filters has announced a line of customizable special-effects filters. The first series includes a version of the anamorphic-streak effect and a four-point star pattern. Seven standard colors are available for both effects: blue, green, red, orange, yellow, pink and violet. Clear-effect filters are also available, and custom colors can be made upon request.

The manufacturing method used by Optefex yields sharp, bright lines. Both star and streak filters are available in a choice of strengths — 1mm, 2mm, 3mm and 4mm, where the lower the number, the stronger the effect. Optefex Color/Color Streak filters may be combined to create multiple-point star effects, and two or more colors may be used together at a variety of angles for further creative applications.

Optefex filters are available in three sizes — 4"x4", 4"x5.65" and 6.6"x6.6" — with other sizes available upon request. Optefex filters are distributed through the DoP Shop.

Redrock Micro has introduced the M3 35mm lens adapter, which allows users to achieve remarkable looks with their video and DSLR camera systems.

The result of seven years of development, the M3 delivers razor-sharp images with a beautiful feel. The high-rpm spinning ground glass lets users stop down to an f16 without seeing grain, and the oversized optics boast a low light loss of only ¼ of a stop. The M3’s state-of-the-art power system incorporates locking, lemo-style connectors, auxiliary power ports, rechargeable batteries and power-status indicators. The rugged, professional housing features a uni-body design constructed of precision-machined aluminum with a hard, anodized finish and rubberized, weather-resistant port covers. The M3 also features a cleaning port as well as gaskets for silent operation. Additionally, the adapter boasts tools-free setup and operation, a baseplate with thumbscrews, a breach-lock camera connector and integrated flip optics.

“Redrock’s mission has always been to empower anyone to shoot high production value, film-style imagery,” says James Hurd, chief revolutionary for Redrock Micro. “The M3 delivers a unique blend of amazing footage with the control and power of modern digital video cameras.”

The Redrock M3 is available in several different configurations and bundles; special introductory pricing starts at $1,320.

OConnor has introduced the O-Box WM, a two-stage wide-angle mattebox designed around the 1.78:1 format full-size sensor. The compact O-Box supports lenses as wide as 18mm and can accept three filters: two in top-loading filter frames that accept 4"x4" and 4"x5.65" filters (the rear stage can rotate 360 degrees) and a 138mm round filter in the bellows.

Constructed of OConnor’s proprietary, rugged, composite material, the sunshade is lightweight yet strong and impact resistant. The O-Box WM features integrated handgrip interfaces, which allow OConnor’s O-Grips to be attached directly to the O-Box support cage in three locations: camera left, camera right or bottom center. The bottom-center position is especially useful for small setups, such as with DSLR cameras, keeping the operator’s left hand free to pull focus.

The O-Box WM can be clamped directly onto lenses with outer diameters of 150mm or less, and it can also be supported by the removable 15mm LWS rod bracket. Studio 15mm and 19mm mounting options are also possible via industry-standard adapters.

The O-Box WM Kit includes the WM mattebox with two-stage wide mini sunshade, two 4"x4" filter frames, two 4"x5.65" filter frames, a provision for a 138mm filter, a top flag and a mounting bracket. Additional, optional accessories include side flags, retaining brackets, a bottom bracket and flag, a universal mask set, and bellows step-down rings.

Chrosziel’s 3DA1 Kit consists of a lightweight support with 15mm rods and Chrosziel’s Mattebox 456 Academy Double and retaining ring, which are shaped to tightly fit the AG-3DA1’s twin lens. The mattebox is equipped with two rotating filter stages with multiformat filter holders for 5"x5" and 4"x5.65"; when using 5"x5" filters, both stages rotate without restriction.

Chrosziel has introduced three kits for the AG-AF100: the 450R2-AF1 Kit, the 450R2-AF2 Kit and the 456-20-AF1 Kit. The basis for the first two kits is a new lightweight support with 15mm rods and Chrosziel’s Mattebox 450R2. The mattebox features two rotating filter stages; the front stage takes 4"x4" or 4"x5.65" filters, and the rear stage takes 4"x4" filters. The two kits are distinguished by their respective light-prevention rings; the 450R2-AF1 Kit is intended for typical Micro 4⁄3 lenses with a 50-85mm outside diameter, and the 450R2-AF2 Kit is intended for compact PL-mount lenses with diameters from 75-95mm. The 456-20-AF1 Kit is designed for larger lens diameters up to 130mm, and it includes a lightweight support and Chrosziel’s Mattebox 456 Academy Double with a Flexi-Insert Ring.

The Denz Company has introduced the Ultra Lightweight Handle Support System, which can be used with any camera system and has proven especially popular with DSLRs.

The system includes two handles, four support arms (two long and two short) and a center clamp for 15mm and 19mm support rods, all of which can be adjusted via rosettes to accommodate individual needs. The handles are constructed of rugged olive wood, ensuring long life and giving the user the proper grip for precise operating. A handle with an integrated start/stop button for the right and left hand is also available with a spiral connection cable.

The Ultra Lightweight Handle Support System ships with its own carrying case, and is fully compatible with the Denz Universal Support System.

Ikan has expanded its line of Elements Fly Kit configurations with the introduction of the Shoulder Mount Deluxe, Stereoscope Deluxe and Shoulder Stock. Each Elements Fly Kit provides users with countless configuration options.

The Stereoscope Deluxe allows users to mount two small-to-mid-sized cameras on an adjustable base utilizing 15mm rods and dual platforms for precise alignment. The Stereoscope Deluxe can be attached to a tripod or other camera support, or foam grips can be added for handheld shooting.

The simple, lightweight Shoulder Stock provides the ability to move quickly and efficiently to any position while using the operator’s body for added stability. The provided rail mount and cheese plate ensure the camera’s security while adjustable foam grips offer precise control.

Ikan’s Elements Fly Kit configurations also include the Shoulder Mount Basic and the Finger Ling; the latter givers users one-touch control of lightweight lenses in DSLR rigs.

Boasting quick and easy setup, the Tommy-Track was designed as a versatile means of creating small camera moves anywhere a tripod can be positioned. Tommy-Track is constructed of aircraft-grade aluminum and steel, and it’s built to withstand even the most rugged production environments. The Tommy-Track comes with a carrier, the 36" track bed and a bubble level.

Zacuto has introduced the Double Barrel shoulder-mounted handheld system for DSLR cinematography. The Double Barrel kit incorporates Zacuto’s shoulder mount and a 7-pound counter balance to give users a comfortable, fully balanced rig that can be configured for use on either the left or right shoulder.

The Double Barrel utilizes Zacuto’s DSLR base plate, which attaches to the user’s tripod plate via standard ¼"-20 and 3⁄8"-16 tripod plate screws. The rig also incorporates a quick-release plate. Unlike Zacuto’s Fast Draw, the Double Barrel features two handgrips and the Z-Finder Pro 2.5x viewfinder. The Z-Finder Pro 2.5x’s mounting frame attaches to the camera quick-release plate using two thumb screws, and it then sits over the LCD screen and allows users to quickly attach or remove the Z-Finder by snapping it on or off the frame.

The Double Barrel also includes Zacuto’s follow-focus system, which is adjustable along the included rods and works in conjunction with Zacuto’s Zipgears. The Double Barrel kit includes a set of four Zipgears; each Zipgear can be attached to a single lens.

For more than 30 years, the Kerner Group has been associated with groundbreaking visual effects and optical technology, including the creation of the “Empire Camera” for The Empire Strikes Back. The latest breakthrough is the Kernercam KC7000 beam-splitter rig, which is available in various sizes for broadcast and cinematic applications.

The Kernercam KC7000 has already been used by Emotion Studios for a 3-D documentary for Nvidea; by Depth Q Media to shoot drift-racing footage for Toyota’s Scion brand; and by director David Arquette for his short film The Butler’s In Love.

Expanding on its range of camera-mounting rigs, Grip Factory Munich has introduced the GF-3D Combi-rig. The mounting system utilizes the extension tubes from GFM’s Combi-rig, but instead of using just one tube, the GF-3D accepts two tubes, providing a stable mount for large camera packages and especially 3-D rigs.

The GF-3D mounts to Euro-adapter fittings and Mitchell mounts, so it can be used with most dolly systems. The GF-3D can be used as a high or low mount with vertical adjustment possible along the tubes. Horizontal position adjustments can also be made. Additionally, the GF-3D is compatible with GFM’s range of offset Mitchell and Ball Adapters.

Berlin, Germany-based Mad About Technology has added the MAT-Towercam Twin Peek to its line of Towercam telescopic camera columns.

Designed by MAT’s owner, Peter Braun, the MAT-Towercam is a portable, remote-controlled, dynamic, smooth and silent telescoping camera column. When coupled with a remote head, the computer-assisted lift allows for a wide range of camera moves, and the MAT-Towercam’s narrow profile makes it a space-saving alternative to conventional cranes. Building on the success of the standard MAT-Towercam, the Twin Peek can telescope in both upright and inverted orientations, with an overall reach of 5'-15' in either orientation.

The entire MAT-Towercam family boasts a short rigging time, and each unit can be operated using a handset, foot pedal or even an iPhone, with a computer-assisted mode also available that allows for implementation as a motion-capture system.

Egripment Support Systems has entered the prosumer market with the introduction of the compact and lightweight ProTraveler System, a jib/crane system designed for use with cameras with a maximum weight of 22 pounds.

The ProTraveler System offers a smooth, high-quality crane movement in combination with a highly technical remote head. The crane features an operational length of 23', with a maximum lens height of 20' (underslung) and adjustable arm-reach configurations for 5.25'-9' or 12.5'-16' operation. The total weight of the crane system is 82.5 pounds.

The ProTraveler can be mounted on any 100mm bowl-type connection, and the system includes two carrying bags and one small flight case for easy transporting. Additional features include pan-and-tilt brakes for the camera arm, a monitor platform, weight adjustment, speed control on pan-and-tilt movement, and a reverse switch for pan-and-tilt direction.